Why Christmas ads work best when they live beyond the TV

Every Christmas, brands flood our screens with glossy, big-budget hero films, and every year, we pretend that’s where the real magic happens. 

But the truth is the festive ads that matter most aren’t always the polished epics dominating prime-time TV. The campaigns that genuinely cut through today are the ones that escape the confines of the traditional spot and take on a life of their own across social and culture.

This year, a handful of brands have done exactly that. Here are the five that genuinely tickled my tinsel but, as always, whether they sleigh in a good way or not is up for debate.

1. John Lewis: The best of the big-guns

The story of a dad trying to get Christmas right feels warm without slipping into festive treacle. Alison Limerick's 1990 song, Where Love Lives, performed by Labrinth, gives it a proper emotional charge, connecting anyone who remembers ‘90s club culture with younger viewers who only find these tracks these days through algorithms. 

This is where TikTok shines. A song you grew up with suddenly reaches teenagers who were not even born when it charted, and is a critical reminder of just how far culture travels now. It also makes me feel about two hundred years old. 

Over one hundred social assets were created to sit alongside the hero film, giving the campaign the breadth and steady rhythm needed to last the entire season. Alison Limerick was filmed in store, reactive pieces were rolled out and new formats carried the sentiment into entirely new spaces. It’s a clear example of what a modern Christmas campaign looks like when built for real reach: a TV film at the centre, supported by a rich, expansive social world around it.

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2. JD Sports: The one that goes further 

JD dodged the usual Christmas sparkle and instead tapped into the mindset of young people closing out the year. The question, 'Where are you going?', gives them something reflective and hopeful at a time when the future feels uncertain. 

The campaign blends creators like Angry Ginge, athletes like Cole Palmer, and real young people filmed as they are, in their surroundings, with their people - and no cheesy backlight to make them glisten. 

The campaign feels built for social from the start. It uses the people who actually shape culture rather than wrapping a festive cliché over the top. For a retailer that likely sees a fortune pass through its tills in December, this choice is punchy and crucially, has stretch. It feels alive before Christmas and will comfortably run into January without losing its oomph.

3. Wallace & Gromit for Barbour: The one I wish I'd made

Hearing director Will Becher speak about the painstaking craft behind stop-motion made me appreciate this one even more. The level of planning is almost absurd and the patience required is at a level my creative brain couldn’t even imagine. 

Barbour tapped into that world and created a film that feels entirely true to both brands. It is warm, cute and packed with class. Strong surrounding assets push Barbour’s tartan as a distinctive brand code, with teasers, behind the scenes clips, product stories and small moments of Wallace and Gromit charm. Cracking.

Heritage brands often struggle to feel contemporary on social, but Barbour pulls it off with care and craft. As a Geordie, I’m legally obliged to love Barbour’s attempt, but even without that bias, it’s a standout.

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4. END Clothing: My favourite social first hero film

END leaned straight into humour and nailed it. A sleigh of chaotic Santas (yeah, that’s the collective noun) appears everywhere, including a swearing Geordie Santa who sounds like he’s seen too many December late shifts. The whole thing feels fresh, a little bit cheeky and rooted in culture, which END nail time and time again.

Sharp edits, playful script, funny characters and a clean, simple messaging; order online and save time. For a fashion retailer that lives inside culture rather than around it, this approach is spot on. It is confident, quick to share and built for people who want a laugh before they move on with their lives.

5. Itsu: The one that knows it’s not Christmas

About eight or nine years ago, a paid media post from Diet Coke kept doing the rounds. It was a looping GIF of a can in front of a fireplace with generic “Happy Holidays” copy. It was a perfect example of forcing a product into a moment it doesn’t belong.

Itsu deserves credit for doing the opposite. Itsu earns a festive shoutout simply for knowing exactly who they are. December isn’t their season and the easiest move would’ve been to stay quiet. Instead, they lean into the truth that nobody rushes to Itsu at Christmas and use the season as a platform to claim January. The result is a brilliantly self-aware campaign that’s lo-fi but high-impact, packed with British wit and clever talent use.

Bringing back the iconic Wealdstone Raider is inspired. His “you want dim sum!” line lands perfectly and had me laughing out loud. The whole thing is genuinely impactful, funny, self-aware, shareable and built for the feed. A great example of smart timing, honest insight and a simple idea executed with total clarity, confidence and the perfect lead talent.